Introduction |
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1 | (7) |
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Defining the music documentary |
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1 | (1) |
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The music documentary in academic studies |
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2 | (2) |
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4 | (2) |
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Authenticity in radio production practice |
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6 | (1) |
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6 | (1) |
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7 | (1) |
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1 Historicising the music documentary |
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8 | (8) |
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Defining the radio documentary and the music documentary |
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8 | (3) |
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11 | (1) |
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The changing role of the radio producer |
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11 | (3) |
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14 | (1) |
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14 | (1) |
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14 | (2) |
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2 Public service and commercial radio |
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16 | (13) |
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Academic investigations in the field of radio studies |
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16 | (4) |
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The political economy of radio |
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20 | (2) |
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The viability of music documentaries |
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22 | (4) |
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26 | (1) |
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26 | (1) |
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27 | (2) |
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29 | (9) |
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The use of music within music documentaries |
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30 | (1) |
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Track selection in music documentaries |
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31 | (1) |
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"Beat matching" in music documentaries |
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32 | (2) |
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The music "bed" in music documentaries |
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34 | (1) |
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35 | (1) |
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36 | (1) |
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36 | (2) |
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38 | (13) |
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Comparisons between audio and visual forms of documentary production |
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39 | (3) |
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Radio production practices |
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42 | (6) |
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48 | (1) |
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49 | (1) |
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49 | (2) |
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51 | (10) |
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Securing interview talent for music documentaries |
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52 | (1) |
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Interviewing for music documentaries |
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53 | (2) |
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Recording on-location interviews |
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55 | (2) |
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Recording online and remote interviews |
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57 | (2) |
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59 | (1) |
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59 | (1) |
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60 | (1) |
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61 | (15) |
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62 | (3) |
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Structuring and presentation |
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65 | (2) |
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The role of the presenter in documentary commissioning |
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67 | (6) |
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Scripting for radio documentary presentation |
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73 | (1) |
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73 | (1) |
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74 | (1) |
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75 | (1) |
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76 | (15) |
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Editing music documentaries for radio |
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77 | (4) |
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Structuring music documentary content |
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81 | (6) |
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87 | (1) |
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88 | (1) |
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89 | (1) |
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89 | (2) |
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8 Idea generation and commissioning |
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91 | (13) |
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Commissioning music documentaries to build radio audiences |
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92 | (1) |
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Audience considerations in commissioning radio documentaries |
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93 | (2) |
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Programming considerations in music documentaries |
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95 | (1) |
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Educational and compliance considerations in the commissioning process |
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96 | (3) |
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Alternative funding streams for music documentaries |
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99 | (1) |
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The value of radio awards |
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100 | (1) |
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101 | (1) |
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102 | (1) |
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102 | (2) |
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104 | (12) |
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Online audio platforms and distribution |
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105 | (3) |
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Online engagement with contributors and audiences |
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108 | (3) |
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The re-appropriation of online content |
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111 | (1) |
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The visualisation of radio content |
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111 | (2) |
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113 | (1) |
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114 | (1) |
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114 | (2) |
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116 | (9) |
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Freelance radio production in the cultural industries |
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116 | (3) |
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Workflow in freelance music documentary production |
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119 | (1) |
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Commissioning opportunities for freelancers |
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120 | (3) |
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123 | (1) |
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123 | (1) |
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123 | (2) |
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125 | (4) |
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127 | (2) |
Index |
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129 | |